Saturday, November 16, 2024

Die Alone


Lowell Dean: Die Alone (CA 2024). Below: the protagonist couple Ethan (Douglas Smith) and Mae (Carrie-Anne Moss). Above: Kai (Frank Grillo) and Mae.

Country and year: Canada © 2024 Die Alone, Inc.
Rating: 16
Duration: 91 min
Director and writer: Lowell Dean
Producer(s): Benjamin DeWalt, Kevin DeWalt, Danielle Masters
Cinematographer: Mark Dobrescu
Music: Todd Bryanton
Cast: Douglas Smith, Carrie-Anne Moss, Frank Grillo, Kimberly-Sue Murray, Jonathan Cherry, Steven Roy
Language: English
Subtitles: Finnish (n.c.)
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 1, Helsinki, 16 Jan 2024

Loc: Regina, Saskatchewan, Canada.
    Soundtrack: - "Crimson and Clover" (1968, Tommy James & Peter Lucia, Jr.) perf. Tommy James and the Shondells. 
- "Clair de lune" from Suite bergamasque (1905) by Claude Debussy, inspired by a poem by Paul Verlaine (1869).
 
Night Visions 2024: "WolfCop-kauhukomedioista (NV 2014 & 2017) muistettava kanadalaisohjaaja Lowell Dean antaa väkevän näytön vakavampien genrerekisterien hallinnasta. Die Alone on brutaali ja kouraiseva, osin myös surumielinen kuvaus maailmanlopusta."

"Ethan (Douglas Smith) herää keskellä tuhoutunutta maailmaa muistamatta, mitä on tapahtunut. Hiljalleen nuorelle miehelle selviää, että kasvipohjainen virus on runnellut sivilisaation ja muuttanut ihmiset zombimaisiksi saalistajiksi."

"Inhimillisen elämän rippeitä pitävät yllä vain Ethanin kaltaiset satunnaiset selviytyjät. Muistinmenetyksistä kärsivää miestä pitää liikkeessä toivo kadonneen tyttöystävän (Kimberly-Sue Murray) löytämisestä. Kovaotteinen Mae (Carrie-Anne Moss) pelastaa vaarallisesti haahuilevan Ethanin farmilleen ja tarjoaa apuaan. Tarinaan liittyy kiinteästi myös arvoistaan tinkimätön perheenisä Kai (Frank Grillo)."

"Die Alone kuvaa sisäisen ja ulkoisen maailman tuhoutumista. Zombie-estetiikka, Christopher Nolanin Mementon (2000) aikatasoleikittely ja The Last of Us -sarjan maailmanlopun tunnelma limittyvät elegantilla tavalla. Smith ja Grillo hoitavat tonttinsa suvereenisti, mutta mieleenpainuvimman roolin tekee The Matrix -elokuvien supertähti Carrie-Anne Moss naispääosan surumielisenä selviytyjänä."

"Visuaalisesti häikäisevät kuvat muovaavat jopa kauhun kummallisen kauniiksi. Dean tarjoaa katsojalle painajaisen, josta voi sekä nauttia että selviytyä."

“Thrilling and thought-provoking”
– Cara McWilliam / Cryptic Rock

“Carrie-Anne Moss zombie horror movie is 2024’s surprise stand-out”
– Shawn Van Horn / Collider

“The post-apocalyptic zombie sub-genre gets a new, fresh spin”
– Mel Valentin / Screen Anarchy

“A meditative film with heart and soul”
– Rachel Ho / Exclaim! Magazine

“A young man with short-term memory loss tries to survive the zombie apocalypse while searching for his girlfriend in Die Alone — Writer-director Lowell Dean (WolfCop) adds a dash of Christopher Nolan’s Memento to the usual zombie movie trappings, and comes out with a winner that offers some real surprises along the way. — [Carrie-Ann] Moss, in a rare lead performance, steals the film as Mae, a complex character whose mystery is slowly worn away over the course of Die Alone — In a sea of formulaic zombie films, it’s a gem that truly breaks the mold” – Jason Pirodsky / The Prague Reporter

– Quotation montage by Night Visions 2024

AA: Lowell Dean's Die Alone is a philosophical horror movie, an existential vision of a post-apocalyptic world, a dystopia, a zombie flesh-eater movie, a gore and splatter movie and a movie about amnesia.

Ethan (Douglas Smith) is a man without a memory. The film starts in a confusion of sensations as life flashes by. Only in the finale, after an odyssey in jumbled chronology, we begin to realize what it is all about. Although Ethan has no long-term memory, he still has an identity and a self-awareness, which enables a final solution.

Ethan's hold on life is Mae, played by Carrie-Anne Moss, memorable in The Matrix and Memento, now in a role with even greater substance. Mae is a doctor, and she has turned into an action heroine. 

In genre terms - as an action film, horror film and science fiction film - Die Alone delivers. It is also an original dystopian vision, with dimensions worthy of Ingmar Bergman (Shame), Andrei Tarkovsky (Stalker) and Alex Garland (Civil War).

Infected by an unknown virus, mankind is reverting to the state of the vegetable kingdom, fighting a rearguard battle as flesh-eating vegetable zombies. The tale is about "nature purging itself from mankind".

Even more than an action film, Die Alone is a visionary film and an imagist film. With his cinematographer Mark Dobrescu executing his ideas in glorious scope, Lowell Dean displays an original vision of post-apocalyptic desolation. Based on negative aesthetics, he shows Mother Nature's Revenge.

Visually, Die Alone has affinities with Gothic and Neo-Gothic currents, German Romanticism and the aesthetics of destruction in modern and contemporary art. There is also an Archimboldo - Jan Svankmajer - Quay Brothers lineage in the vegetable monsters.

The film starts and ends in montages of confusion. Ethan finds a way out. But it is not for us.

Gui cai zhi dao / Dead Talents Society

 
John Hsu: 鬼才之道 / Gui cai zhi dao / Dead Talents Society (TW 2024). The Rookie (Gingle Wang) about to jump.

鬼才之道
Country and year: Taiwan 2024
Rating: 16
Duration: 110 min
Director: John Hsu
Writer: John Hsu, Kun-Lin Tsai
Producer(s): Ivy Chen, Lieh Lee, Aileen Li
Cinematographer: Chou Yihsien
Music: Luming Lu
Cast: Gingle Wang , Chen Bo-Lin, Sandrine Pinna, Yao Yi, Bai Bai, Soso Tseng
Subtitles: English
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 1, Helsinki, 16 Nov 2024 

Night Visions 2024: "Onnistuneimpien kummituskomedioiden kaanoniin kohotetun Tim Burtonin Beetlejuicen jatko-osasta on kohkattu kiivaasti tänä syksynä. Nyt Kaukoidästä ponnistaa vielä monin verroin hauskempi, kekseliäämpi, koskettavampi sekä verisempi kauhun ja komedian risteytys."

"Arvokkaimman mahdollisen laatuleiman Dead Talents Society sai syyskuussa, kun se esitettiin maailman suurimman elokuvatapahtuman Toronton festivaalin Midnight Madness -sarjassa. Pari viikkoa myöhemmin Yhdysvaltojen tärkeimmän genre-elokuvafestivaalin Fantastic Festin yleisö äänesti sen vuoden parhaaksi elokuvaksi."

"Tarinan tulokulma on kutkuttava: edes kuolleet eivät pysty pakenemaan julkisuuskulttuurin kiroja tai huomiotalouden paineita."

"Henkensä heittänyt nuori nainen (Gingle Wang) palaa elävien keskuuteen kummituksena. Edessä on oitis eksistentiaalinen kriisi: ellei hän onnistu kuukauden kuluessa aiheuttamaan ihmisissä riittävän väkeviä kauhun väristyksiä, hän katoaa ikuisiksi ajoiksi."

"Suorituspaineista kärsivä aloittelija löytää pian ympärilleen muita aavemaailman altavastaajia. Yhteisöllisyys osoittautuu yllättäväksi voimavaraksi myös haamujen todellisuudessa."

"Dead Talents Society leikittelee herkullisesti aasialaisen kauhuelokuvan kliseillä ja myyteillä, irvailee populaarikulttuuriviitteillä ja pureutuu ulkopuolisuuden kokemukseen suurella sydämellä. Ohjaaja John Hsu rakentaa maailmansa aivan poikkeuksellisella pieteetillä."

"Lopputulos näyttää ja kuulostaa suuren mittakaavan elokuvalta. Kerronnan rytmi on hengästyttävä, mutta punaiset langat pysyvät tiukasti tekijöiden hyppysissä."

“A gorgeous-looking film that really breathes life into the underworld”
– Tori Potenza / Filmhounds Magazine

“Wildly imaginative”
– James Marsh / South China Morning Post

“One of the best horror comedies of recent memory, one that serves its timelessly existential theme with bloody delights”
– Zachary Lee / RogerEbert.com

“Intelligent, witty, and hilarious”
– Anna Miller / Collider

“John Hsu’s frightfully entertaining Taiwanese horror-comedy imagines a world where the dead are just as beholden to the pressures of fame as the living, and an industry has grown around ambitious apparitions building their personal brands. Urban legends live forever, and forgotten ghosts literally disappear —-

At its heart, Dead Talents Society is an affectionate ode to East Asian horror cinema — The concept has shades of Beetlejuice as well, and Hsu’s world-building is equally delightful, revealing just enough to intrigue while prioritizing jokes and not over-explaining its concepts. — Hsu’s ability to balance the film’s many disparate elements while keeping a solid grasp on character is impressive, showing strong vision and a steady hand.”
– Katie Rife / IndieWire - Quotation montage by Night Visions 2024

AA: John Hsu's Dead Talents Society is a dizzying satire about the culture of cutthroat competition continuing in the afterworld. The ghosts have a star system and a pecking order complete with ruthless talent shows. Urban legends are pursued, haunting licenses are issued, professional haunting agencies are organized. Ghost stars used to be great in the cinema and television and now internet is the main battleground. Subjects including haunted rooms, cursed phones and the Exorcist Crawl are elaborated. If you are not competitive enough, you face final disintegration. The Rookie (Gingle Wang) emerges as the protagonist: the eternal loser whose self-confidence has been crushed in childhood. She has been led to believe that she is never good enough. Even as a ghost she fails. But her rallying cry "I hate this world" becomes the motto for all. Motifs include a hit-and-run driver being scared to death by his victim's return as a ghost. Dead Talents Society is a tale of madness that is a reflection of a world gone mad. Photographed in magnificent scope, the vision grows to deranged grandeur. At 110 minutes, the barrage of twisted, inventive imagery rushes at overspeed. There is not enough time to let all implications sink in. Less would have been more.

Bookworm (2024)


Ant Timpson: Bookworm (NZ 2024) with Nell Fisher (Mildred) and Elijah Wood (Strawn Wise).

Country and year: New Zealand 2024
Rating: 12
Duration: 103 min
Director: Ant Timpson
Writer: Toby Harvard, from story by Toby Harvard and Ant Timpson
Producer(s): Roxi Bull, Victoria Dabbs, Mette-Marie Kongsved, Emma Slade, Laura Tunstall
Cinematographer: Daniel Katz
Music: Karl Sölve Steven
Cast: Nell Fisher, Elijah Wood, Michael Smiley, Vanessa Stacey, Morgana O’Reilly, Millen Baird, Theo Shakes, Nikki Si’ulepa
Language: English
Subtitles: No subtitles
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 2, Helsinki, 16 Nov 2024
 
Night Visions 2024: "Vaikuttavan uran tuottajana tehnyt Ant Timpson (Turbo Kid, The Greasy Strangler, Ebony and Ivory) debytoi ohjaajana kieronhauskalla Come to Daddy -trillerillä (NV 2019). Bookworm kurvaa letkeämpiin maisemiin unohtamatta ohjaajalle ominaista mustaa huumoria ja pitkäaikaista yhteistyökumppania Elijah Woodia."

"Uuteen-Seelantiin sijoittuva Bookworm on omintakeinen sekoitus kasvukuvausta, asennekomediaa ja 1980-luvun Spielberg-elokuvien ihmeen tuntua. Mildred (Nell Fisher) on 11-vuotias älykkö, jolle David Copperfield on tuttu Charles Dickensin kirjallisuudesta. Sanavalmis lukutoukka asuu äitinsä kanssa eikä ole koskaan tavannutkaan isäänsä – lasvegasilaista taikuria (Wood), joka saattoi äidin siunattuun tilaan ikimuistoisten ensitreffien päätteeksi."

"Kun leivänpaahdinonnettomuus (älä kysy) vie äidin sairasvuoteeseen, taikuri-isän on loihdittava itsensä maailman toiselle laidalle ja lähdettävä tyttärensä kanssa luontoretkelle. Tavoitteena on bongata myyttinen pantteri, jonka kuvasta on luvassa 50 000 dollarin palkkio. Mikä voisi mennä vikaan?"

"Postikorttimaisemissa vaeltava Bookworm lähestyy vanhemmuutta ja aikuistumista vinosta mutta vilpittömästä kulmasta. Woodin faijavitsiautomaatti ei vaikuta vastuunkantajalta, mutta kun pantterinpaska osuu tuulettimeen, oman elämänsä illusionisti osoittaa piilevät kykynsä. Särmikkään seikkailun todellinen tähti on kuitenkin Fisher, jonka pikkuvanha karisma särkee aikuisia egoja."

"Todisteena vahvasta crossover-potentiaalista Bookworm voitti vuoden parhaan elokuvan yleisöpalkinnon Montrealin maineikkaalla Fantasia-festivaalilla elokuussa."

“Spirited adventure tale”
– Jennie Kermode / Eye For Film

“Its closest analogue is Taika Waititi’s Hunt for the Wilderpeople”
– Anton Bitel, Sci-Fi Now

“Adorable, complex, and deliriously entertaining”
– Alison Foreman / IndieWire

“Going more Goonies than grindhouse — An admirable effort”
– Clint Worthington / RogerEbert.com

“As expansive and inviting as its picturesque New Zealand landscapes, a joyous sense of adventure shines through in Ant Timpson’s Bookworm, a delightfully quirky father-daughter adventure with the perfect blend of childlike wonder and grown-up bite. It’s a charming escapade that brings Taika Waititi’s Hunt for the Wilderpeople to mind — in that, Bookworm is for everyone who takes their family road movies with a side of maturity, breathtaking stakes and a droll sense of humor.” 
– Tomris Laffly / Variety – Quotation montage by Night Visions 2024

AA: Suitable for family viewing, Ant Timpson's Bookworm is an entertaining adventure film about an absentee father (Elijah Wood as Strawn Wise) rushing to take care of his 11-year daughter (Nell Fisher as Mildred) after her mother falls victim to a potentially lethal accident.

Strawn is an illusionist down on his luck. Mildred is the result of a one night stand in Las Vegas, but now Strawn tries to rise to the occasion as the father protector for his daughter in distress.

Mildred is the titular bookworm for whom David Copperfield means the classic Charles Dickens novel - where for her father David Copperfield is the role model as a master illusionist.

Mildred is obsessed by a reward of $50.000 offered for the one who can provide documentary footage of the elusive Canterbury panther. I understand that the Canterbury panther is for New Zealand what the Loch Ness monster is for Scotland.

Needless to say, Strawn fails miserably in his newfound calling as a father, and Mildred is insufferable as the cheeky brat who is not only more educated than her father but possesses also superior survival skills during the trek in the wilderness. As we can guess, this is the beginning of a beautiful family relationship.

Photographed by Daniel Katz in glorious scope, the New Zealand landscapes look fabulous.

Friday, November 15, 2024

Shadowland (Finnish festival premiere, Night Visions Documentary Gala in the presence of Otso Tiainen, Kalle Kinnunen and Panu Hietaneva)

 
Otso Tiainen: Shadowland (FI 2024). Richard Stanley in Montségur.

Country and year: Finland 2024
Rating: 12
Duration: 98 min
Director: Otso Tiainen
Writer: Kalle Kinnunen, Otso Tiainen
Producer(s): Kalle Kinnunen
Cinematographer: Peter Flinckenberg, Max Smeds
Music: Timo Kaukolampi, Tuomo Puranen
Language: English, French
Subtitles: English
With: Richard Stanley, Aletheia Anaiya Sophia, Iranon, Uranie, Christy Campbell
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 1, Helsinki, 15 Nov 2024
 
Night Visions 2024: "Richard Stanley (s. 1966) vieraili Night Visions -festivaalilla Helsingissä marraskuussa 2015. Scifi- ja kauhuhiteistä Hardware ja Dust Devil sekä esoteriadokumenteista tunnettu ohjaaja nautti vielä kulttimainetta. Salatieteisiin erikoistunut toimittaja Perttu Häkkinen (1979−2018) haastatteli Stanley’ä The Secret Glory -dokumentin näytöksessä."

"Myöhemmin Häkkinen matkasi tapaamaan Stanley’ä Ranskaan, Pyreneiden vuoristossa sijaitsevaan Montségurin kylään. Mukaan lähti ohjaaja Otso Tiainen (Sami Yaffa – Sound Tracker -sarja). Myyttinen Montségur veti puoleensa vaihtoehtoihmisiä. Suomalaiset päättivät tehdä dokumentin hörhökeskittymästä, jonka ylipapiksi elokuvauransa karille ajanut Stanley asemoitui."

"Kun Stanley sai kesken prosessin Lovecraft-filmatisointi Color Out of Spacen ohjauskeikan, dokumentaristit suunnittelivat nostavansa esiin erikoisen comebackin. Seuraava käänne oli järkyttävä. Vuonna 2021 Stanleyn entinen kumppani kertoi blogissaan ohjaajan pitkään harjoittamasta henkisestä ja fyysisestä väkivallasta. Kohun myötä julkisuteen nousi muitakin vastaavia tapauksia."

"Tiainen ja projektiin käsikirjoittajaksi ja tuottajaksi tullut elokuvatoimittaja Kalle Kinnunen reagoivat tapahtumiin. Shadowland-dokumentti löysi lopullisen muotonsa kuvauksena uskonnollisen yhteisön dynamiikasta ja sen mahdollistamasta hyväksikäytöstä."

"Tulos on täysin poikkeuksellinen suomalainen elokuva, jossa itse syvennetty metoo-uutinen peilautuu ikiaikaisiin teemoihin. Montségurin maagiset maisemat vangitseva kuvaus sekä Timo Kaukolammen ja Tuomo Purasen musiikki viimeistelevät maailmanluokan onnistumisen."

”Aivan mielettömän hieno audiovisuaalisesti ja muutenkin”

– Antti Holma / Antin elokuvakerho 16.10.2024

“A haunting journey into the heart of darkness — Essential viewing”
– Stephanie Malone / Morbidly Beautiful

“[Director] Tiainen copes impressively with a film which swerves far off its original course”
– Jennie Kermode / Eye For Film

“A smart, confident documentary”
– Katie Beach / Movie Jawn

“Shot like a horror movie. Few, if any, documentaries look like this”
– Tina Kakadelis / Beyond the Cinerama Dome

“In 2021 Finnish filmmaker and documentarian Otso Tiainen, together with his co-writer Kalle Kinnunen, set out to Montségur, France, a commune nestled in the French Pyrenese mountains and a homestead for practitioners of the occult. Initially filming started out as a documentary about filmmaker and occultist Richard Stanley and their life in what they call ‘The Zone.’ However, part way through the project a shocking allegation of past domestic abuse was made against Stanley. Not only did the documentarians need to rethink what they do with this revelation but so did other residents of Montségur who had come to know Stanley as one of the commune’s key spiritual leaders.” 
– Andrew Mack / Screen Anarchy
Quotation montage by Night Visions 2024.

AA: Religions and sacred sects turn out to be a major theme in this edition of the Night Visions festival. After Heretic, Bad Faith and Rundi we are now given the Finnish festival premiere of Otso Tiainen's Shadowland.

Many years in the making, the genesis of Shadowland is in the Night Visions festival itself where Richard Stanley was a guest of honour in 2015. He generously invited Finnish aficionados to visit him in Montségur in the Pyrenees in Occitania, and the men behind Shadowland responded to his call.

Montségur (the name comes from "mons securus" = "secure mountain") is a legendary place among occultists because it was the last stand of the Cathars and the Knights Templar, in custody of the Holy Grail, allegedly still lying hidden there. Napoleon, Himmler and Tony Blair have tried to track down the Holy Grail there, and our contemporaries continue the pursuit with metal detectors.

Occitania is the land of the legendary castles of Carcassonne and Château de Montségur, perfect for safeguarding the Holy Grail.

Otto Tiainen and his team offer us a full menu of witchcraft, sorcery rituals and sacred practices in Montségur, including Wicca rites and a stark naked Richard Stanley receiving a baptism in the river by three White Ladies.

In the middle of filming, alarming charges rise against Richard Stanley - about domestic violence, mental and physical. Stanley is taken to an address by the police, "rappel à la loi". Many women are involved, but four of them do not want to go public about abuse. Most women do not want public attention as victims to crimes like this.

The documentary has taken a surprising turn. It is not about "Me Too" in the strict sense, but it is a parallel story of harassment and abuse.

The exciting story has been magnificently photographed by Peter Flinckenberg and Max Smeds. The landscape provides a perfect sinister background to a story suitable for Cthulhu meeting the Elder Gods, a land where Neanderthals roamed.

Chain Reactions


Alexandre O. Philippe: Chain Reactions (US 2024).

Country and year: USA 2024
Rating: 16
Duration: 102 min
Director and writer: Alexandre O. Philippe
Producer(s): Kerry Deignan Roy
Cinematographer: Robert Muratore
Music: Jon Hegel
Language: English
Subtitles: No subtitles
With: Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King, Karyn Kusama 
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 1, Helsinki, 15 Nov 2024
 
Night Visions 2024: "Genre-elokuvahistorian keskeiseksi analyytikoksi noussut dokumentaristi Alexandre O. Philippe (78/52 – Psykon salaisuudet, Memory: The Origins of Alien) löytää oman kulman myös modernin kauhun klassikkoon. Tobe Hooperin The Texas Chain Saw Massacre (1974) esitteli teinikauhun sekä maaseudun ja kaupungin jännitteestä ammentaneiden perähikiäkuvausten pohjapiirrokset. Mekaanisten tapporallien kantaisä oli kuitenkin taiteellisesti kunnianhimoista avantgardea, jonka 16-millisissä kuvissa autenttinen pelko yhdistyi yhteiskunnalliseen ymmärrykseen."

"Philippe ei toistele tuttua triviaa tai kaluttuja anekdootteja, vaan jäljittää pioneeritöiden syvempiä merkityksiä. David Lynch ja Ihmemaa Ozin (Lynch/Oz, 2022) lailla Chain Reactions jakautuu elokuvantekijöiden ja -tuntijoiden monologeihin. Koomikko ja näyttelijä Patton Oswalt, kriitikko Alexandra Heller-Nicholas, kirjailija Stephen King sekä ohjaajat Takashi Miike ja Karyn Kusama kertovat moottorisahasuhteestaan. Havainnoista rakentuu kuva Hooperin elokuvan globaalista vaikutuksesta ja ajattomasta inspiraatioarvosta."

"Arvovaltaisella Venetsian elokuvafestivaalilla syyskuussa parhaana elokuvaa käsittelevä dokumenttina palkittu Chain Reactions on Philippelle ominainen elokuvaessee, jossa sulavat ja älykkäät kertojaäänet kuljettavat timanttisesti kuratoitua kuvavirtaa. Moottorisahamurhien syväanalyysin ohella dokumentti avaa kiehtovan näkymän Miiken kipua yli pelon korostavaan ohjaajavisioon. Todellinen harvinaisuus on Kingin suorapuheinen panos, joka valottaa myös kauhun kuninkaan sielunmaisemaa."

“A fascinating examination of a horror classic”
– Emily von Seele / Daily Dead

“Not only solidifies how a film as iconic as The Texas Chain Saw Massacre remains that way, but how, even decades later, we’re still finding unique burrows within it to explore.”
– Spencer Perry / ComicBook.com

“Exploration of our inexplicable attraction to horror is the true theme of the brilliantly titled Chain Reactions.”
– Christian Zilko / IndieWire

“Might be [Alexandre O. Philippe’s] best film yet”
– Damon Wise / Deadline

“A love letter to an all-time classic, Chain Reactions shines as one of Philippe’s most entertaining works.”
– Alan French / Sunshine State Cineplex

“Unlike your typical film history doc, the film wastes little time with behind-the-scenes footage or production horror stories. Instead, it unfolds through a series of conversations with five high profile fans of the film: Patton Oswalt, Takashi Miike, Stephen King, Karyn Kusama, and critic Alexandra Heller-Nicholas. While most of them begin by citing specific elements of the film that they appreciate, the interviews quickly turn into free-flowing discussions about the period of their lives in which they saw the film and how their own relationship with horror changed.” – Christian Zilko / IndieWire
– Quotation montage by Night Visions 2024

AA: Alexandre O. Philippe's Chain Reactions is a 50th anniversary tribute to Tobe Hooper's The Texas Chain Saw Massacre. It had a terrible reputation in wide circles, especially in Nordic countries. In Finland it was banned and only premiered in 1996. I had read in Film Comment Robin Wood's essays on contemporary horror film which he with Richard Lippe soon collected to a volume called The American Nightmare, also republished in Wood's Hollywood from Vietnam to Reagan.

When I finally saw The Texas Chain Saw Massacre in the early 1980s, I was struck by its avantgardist and psychedelic poetry with affinities with the New American Cinema of the 1960s (such as the films of Stan Brakhage).

At the time the film also seemed to be about coming to terms with the Vietnam War - the desolate disillusion of our highly admired America trying to destroy by brutal massacre (such as carpet bombing) a little people fighting for its liberty. In Finland we identified with Vietnam. Robin Wood also saw contemporary American horror film as an address about the state of the union.

I had friends who were critical about the horror because they saw in it an expression of misogyny. I had also female friends who were also admirers of the film because of its audacious address. I can understand the suspicion about misogyny. To me the film is among other things about misogyny as a root cause to the horror of the deranged family.

I congratulate Alexandre O. Philippe for the structure of five conversations that are displayed individually so that we can fully immerse ourselves in their meditations - instead of the regular bonus feature soundbite approach. A fascinating comparison emerges of their various interpretations of the sunrise imagery. In vampire movies, sunrise kills the monster. In The Texas Chain Saw Massacre, sunrise highlights the monster. 

Most commentators first saw the film in a terribly beat-up print. "Visually it's completely different now", says Alexandra Heller-Nicholas. But seeing the movie in bad prints does not diminish it, perhaps on the contrary. Its visual power is immune to troubles of print quality.

Robin Wood, one of the film's earliest public admirers, saw in it a reflection of a recent past. In her final comments, Karyn Kusama sees in it a film much ahead of its time, a prophecy of what is happening now.

Thursday, November 14, 2024

Rundi (Night Visions 2024 Finlandia Gala in the presence of Raimo Paananen and Eeva Litmanen)

 
Jouko Suikkari: Rundi (FI 1980).

Rundan.
Country and year: Finland 1990
Rating: 16
Duration: 99 min
Director and writer: Jouko Suikkari
Producer(s): Jouko Suikkari, Veikko Uusimäki
Cinematographer: Raimo Paananen
Music: Pekka Siistonen
Cast: Vesku Tenhunen, Sami Rantanen, Jorma Kurki, Kauko Laitila, Eeva Litmanen, Kari Rakkola, Rami Rahnasto, Päivi Hautala, Pia Heinonen
Language: Finnish
Format: 35 mm
Night Visions Maximum Halloween 3024.
In the presence of Raimo Paananen interviewed by Matti Rämö. In the presence of Eeva Litmanen in the audience.
Viewed at Night Visions, Kinopalatsi 9, Helsinki, 14 Nov 2024

The word "rundi" is Finnish slang based on the Swedish "rundan" = "the round". It refers to Taisto's vicious circle through Finland's toughest prisons.

The prison round: - Sukeva - Helsinki Central Prison - Konnunsuo - Kakola.

Night Visions 2024: "Finlandia-gaala on syksyn Night Visions -festivaalin perinne, jossa kotimaisen elokuvan harvoin nähtyjä erikoisuuksia on kohotettu valokeilaan vuodesta 2009 saakka. Nyt tarjolla on todella uniikki tapaus: teatterilevityksessä alle 2 500 katsojaa kerännyt Rundi on lähestulkoon kadonnut. Se on esitetty kerran televisiossa vuonna 1991. Tallennejulkaisuja ei ole."

"Rundi on suomalaisen elokuvahistorian outolintu: uskonnollisten piirien rahalla tehty kovaotteinen rikoselokuva. Jouko Suikkarin (1948−2021) ohjaus pohjautuu Markku Vuorisen samannimiseen, helluntailaisen Ristin Voiton kustantamaan kirjaan, joka kertoo ex-ammattirikollisen Kyösti Erkinkorven (s. 1946) elämästä."

"Elokuvassa keskushahmo saa nimekseen Taisto Peräkorpi ja esittäjäkseen baarimestarina sekä vanginvartijana työskennelleen Vesa Tenhusen (1959-2001) ainoassa elokuvaroolissaan."

"Suikkari kuvaa Peräkorven lohdutonta elämää naturalistisesti. Väkivaltainen alkoholisti-isä särkee perheen ja tuomitsee pojan laitoskierteeseen. Peräkorpi ei ota taka-askelia alamaailmassa eikä brutaalien vanginvartijoiden edessä. Jääräpäisyys kiihdyttää alamäkeä, jossa väkivalta ja päihteet ovat arkipäivää. Kuka armahtaisi tällaisen elämän eläneen miehen, Peräkorpi pohtii."

"Arto Paasilinnan Hirtettyjen kettujen metsän (1986) filmatisoinnilla debytoinut Soikkeli oli tehnyt dokumentteja vankilaoloista. Autenttisissa oloissa kuvattu Rundi kiertää aikansa kovimmat suomalaiset vankilat Kakolasta Konnunsuolle ja Sukevasta Helsingin keskusvankilaan."

"Soikkeli kuvaa vankilaoloja ja lusimisen kirjoittamattomia sääntöjä antropologisella tarkkuudella. Peräkorven rypemistä hän kuvaa äärimmäisyydellä, joka saisi Jouko Turkan hykertelemään. Rundi yhdistää eksploitaation portteja kolkuttavaa yhteiskuntakritiikkiä, harrasta melodraamaa ja toimintaelokuvan rytmiä. Lopputulos on kuin Jäätävän poltteen (1986) uskonnollinen pikkuserkku."

”Ei näytä yhdeltäkään toiselta suomalaiselta elokuvalta”
– Helena Ylänen / Helsingin Sanomat 14.4.1990

”Kuvallinen anti on jatkuvasti komea”
– Ywe Jalander / Suomen Kuvalehti 18/1990

”Mitä merkillisin, seksiin ja väkivaltaan mieltynyt moraliteetti, jossa Jeesus pelastaa taparikollisen [—], mutta jossa katsojan hyvän maun mieltymyksille ei anneta armoa koko puolenatoista tuntina”
– Putte Wilhelmsson / Uusi Suomi 29.8.1991" - Quotation montage by Night Visions 2024
 
Night Visions 2024: "A spiritual second cousin of Renny Harlin’s infamous first feature Born American (1986), Rundi is a genuinely unique piece of work in the Finnish filmmaking landscape. Based on a true story of convicted felon Kyösti Erkinkorpi (b. 1946), this second feature by director Jouko Suikkari (1948-2021) is a hard-boiled crime / prison drama produced with financial backing from local Christian sects. Partially shot on location in the most (in)famous prisons in Finland of its era, Rundi combines exploitation overtones with devout melodrama and social criticism, not forgetting to sideline to action oriented pacing here and there."

The feature is projected from a 35 mm archival print, unfortunately without subtitles in English.

AA: I saw for the first time Jouko Suikkari's Rundi.

The Finlandia Gala guest was its veteran cinematographer Raimo Paananen. Shot on location in real prisons, the cinematography is vivid and powerful in the realist mode - close to naturalism, without excess or gratuitous emphasis.

Another strength is the casting. This is a true crime story of a career criminal, serving his sentences in hard labour in Finland's toughest prisons. Vesku Tenhunen as Taisto Peräkorpi has great presence and authenticity in his sole film role. The entire cast, down to bit parts in crowd scenes (there was a cast of over 400), shares this believable, lived-in quality. Suikkari paints a veritable map of human faces, behind each one a tragic life story.

Rundi is a commissioned film, mostly funded by religious groups. The novel on which it is based was published by Ristin Voitto [Triumph of the Cross], with a background in Pentecostalism, its independent Finnish current of Helluntailaisuus. It is based on the life of Kyösti Erkinkorpi (born 1954) who celebrates his 70th birthday on 15 Nov 2024.

Rundi is both a crime movie with unflinching scenes of sex and brutal violence and a religious film with authentic scenes of worship. The preacher Rami Rahnasto was also in real life the spiritual mentor of Kyösti Erkinkorpi who guided him out of his vicious circle. Having found salvation in Jesus, Erkinkorpi continued his circle of life as a touring preacher and a prison preacher.

Alcoholism is endemic in Finland, a horrible public disease. In the 1950s it was combined with the post-traumatic stress syndrome following our three devastating wars during WWII. Taisto is raised by a brutally deranged alcoholic father who becomes his role model. I know from my personal acquaintances that alcoholism is usually incurable, but one of the few remedies is indeed religious conversion.

Rundi is an advocacy film. As Suikkari approaches Taisto's salvation in a quasi documentary way, it transcends the limitations of advocacy.

Saỷara


Can Evrenol: Saỷara (TK 2024). Saỷara (Duygu Kocabiyik) opens the body bag containing her sister's horribly mutilated corpse.

Saỷara: İntikam Meleği
Country and year: Turkey 2024
Rating: 18
Duration: 99min
Director and writer: Can Evrenol
Producer(s): Sarp Kalfaoglu, Can Okan, Ahmet Ziyalar
Cinematographer: Umut Turan
Music: Volkan Akaalp
Cast: Duygu Kocabiyik, Emre Kizilirmak, Özgül Kosar, Caner Atacan, Dogan Baris Yasar, Levent Inal, Batuhan Büyükacaroglu, Samantha Ela Özdas
Language: Turkish
Subtitles: English
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 5, Helsinki, 14 Nov 2024
 
Night Visions 2024: "Mieleenpainuvan kostoelokuvan voi loihtia perinteisistä aineksista, kunhan henkilöhahmot ja tapahtumapaikka ovat freesejä. Saỷarassa turkmenistanilainen maahanmuuttajanainen lähtee veriselle kostoretkelle."

"Ohjaaja Can Evrenol teki kansainvälisen läpimurtonsa houreisella debyytillään Baskinilla (2015). Sitä seurasivat Lovecraft– ja Argento-vaikutteinen uskontokulttikauhu Housewife (NV 2018) sekä osio folk horror -antologiassa The Field Guide to Evil (myös NV 2018). Saỷara on askel kohti maanläheisempää kerrontaa."

"Elokuvan nimihenkilö (Duygu Kocabiyik) työskentelee siivoojana siskonsa kusipäisen rakastajan pyörittämässä kuntokeskuksessa. Ennen työvuoroja hän livahtaa tyhjälle salille pitämään yllä isänsä opettamia taistelutaitoja."

"Arkipäivän toksinen maskuliinisuus kiristää pinnaa ja siskon alistuva käytös ahdistaa. Kun salipomon kaverit satuttavat siskoa ja pomon vaikutusvaltainen isä peittelee jäljet, pato murtuu. Saỷara kirjaimellisesti silpoo ja moukaroi palasiksi turkkilaisen yhteiskunnan tunkkaisimpia epäkohtia rasismista naisvihaan. Tulilinjalle joutuu myös rakenteellinen korruptio."

"Evrenol tuo kostoteeman uudenlaiseen ympäristöön ja kumartaa samalla syvään Abel Ferraran Ms. 45:n kaltaisille lajin klassikoille. Graafisen brutaaliuskertoimensa turkkilaistylytys kohottaa Alexandre Bustillon ja Julien Mauryn Insiden (2007) tasolle."

“This astronomically violent jujutsu movie is a dark elixir of pure revenge”
– Bradley Hadcroft / The People’s Movies

“A thoughtfully constructed morality play of extremes”
– Anton Bitel / Projected Figures

“Introspective, beautifully shot and dynamic”
– Sampira Al-Fihri / The Geek Show

“The film is a unique, weird crossbreed: half grappling-based martial arts flick, half obsessive toxic relationship movie from hell.”
– Can Evrenol on Saỷara / Variety

“The latest offering from Turkish director Can Evrenol departs from the supernatural horrors of his previous works (Baskin, Housewife) and ventures into a brutal, grounded tale of revenge. With Saỷara, Evrenol has crafted an ultraviolent, nihilistic thriller that recalls the raw, unflinching energy of Nicolas Winding Refn’s Pusher trilogy. The film is a relentless journey into the darker corners of humanity, where justice, once forsaken by law, is taken into savage hands.” – Saul Muerte / Surgeons of Horror " - Montage of quotations from Night Visions 2024

AA: Can Evrenol's Saỷara is an ultra-violent revenge tragedy, channelling one woman's confrontation with femicide, misogyny and racism to extreme consequences.

Like in La Mariée était en noir, a woman tracks down a bunch of men who killed her loved one and executes them one by one. She is a little woman against huge beefy men, but Saỷara is since childhood a master of martial arts who keeps fit by exercising every morning.

Saỷara and her family belong to the oppressed minority of Turkmens in Turkey, and they are treated like trash. In flashbacks, we see childhood memories of Saỷara and the lessons taught to her by her father, also in self-defence. 

The rampage of revenge also reveals the ways of the power elite to which they murderous gang belongs and how they can protect their offspring in case they commit crimes. 

The direction, the performances, the photography and the music all contribute to a tremendous cinematic drive.

Revenge is the opposite of justice. Saỷara starts by murdering the mother and the wife of Bariş, the keeper of the sports center where she works and who is responsible for the execution of Saỷara's big sister Yonja. Next in line are the public prosecutor and his chauffeur. Then all the rest, the first among them the big wheel Şamil, the father of Baris. It ends in a conflagration started by a kiss of fire which becomes a kiss of death.

Cartas Telepáticas / Telepathic Letters


Edgar Pêra: Cartas Telepáticas / Telepathic Letters (PT 2024).

Telepathic Letters: An Unfinished Film by Edgar Pêra
Country and year: Portugal 2024
Rating: 16
Duration: 69 min
Director and writer: Edgar Pêra
Producer(s): Rodrigo Areias
Music: Artur Cyanetto
Cast: Keith Esher Davies, Iris Cayatte, Bárbara Lagido, Victoria Guerra
Language: English
Subtitles: No subtitles
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 1, Helsinki, 14 Nov 2024

Night Visions 2024: "Kirjallisen kosmisen kauhun kantaisän H. P. Lovecraftin (1890-1937) työt ovat elokuvantekijöille haaste, jota ryhdytään taklaamaan säännöllisin väliajoin. Telepathic Letters lähestyy aihetta täysin uudenlaisesta kulmasta. Novellimuotoisen fiktion sijaan se rakentuu Lovecraftin kirjeenvaihdolle aikalaisensa, portugalilaisen prosaistin, modernistin ja okkultistin Fernando Pessoan (1888-1935) kanssa."

"Pessoan tiedetään kaveeranneen esimerkiksi Aleister Crowleyn kanssa, mutta Lovecraftia hän ei koskaan tavannut. Elokuvan ääniraidalla kuultavia, kirjailijoiden toisilleen kirjoittamia kirjeitä ei liioin ole olemassa. Todellisuuspohja on silti vankka: ohjaaja-käsikirjoittaja Edgar Pêra on koostanut kirjeet kummankin mestarin julkaistuista teksteistä muotoon, joka sekoittaa faktaa ja fiktiota saumattomasti."

"Metodi mahdollistaa herkuttelun eräänlaisella molempien tekijöiden painajaisvisioiden best of -koosteella. Kuvittaessaan kosmisen kauhufiktion parhaita paloja Telepathic Letters päästää irti lineaarisen kerronnan konventioista ja painaa päälle kaasu pohjassa. Nopeaksi leikattu kuvasto muovaa katsomiskokemuksesta suorastaan hypnoottisen."

"Lopputulosta ei ole liioiteltua kutsua kaikkien aikojen erikoisimmaksi Lovecraft-elokuvaksi. Kirjallisen lähdemateriaalin autenttisuus joka tapauksessa täyttää vaativimmankin puristin kriteerit. Vaikka muoto lähenee monin tavoin videotaidetta, painajaiskuvaston tehot pääsevät täydellisesti oikeuksiinsa vain elokuvateatterissa."
 
“Explores ‘invisible links’ between authors H. P. Lovecraft and Fernando Pessoa in a way that will surely stand out, both visually and in terms of sound”
– Georg Szalai / The Hollywood Reporter

“The most meaty and accomplished experimental horror of [director Pêra’s] career to date”
– Meredith Taylor / Filmuforia

“An engaging work of nightmares and alien presences”
– Antonio D’Onofrio / Sentieri Selvaggi

“Portuguese experimental filmmaker Edgar Pêra reanimates two literary giants, Fernando Pessoa and H. P. Lovecraft, in his latest work Telepathic Letters in order to explore the philosophical and artistic connections between them. —

[It] imagines a fictional correspondence between Pessoa and Lovecraft, drawing on their letters, essays, poems and fiction. Despite their vastly different backgrounds and philosophies – Pessoa’s introspective and fragmented poetic sensibility contrasts sharply with Lovecraft’s cosmic horror and existential dread – Pêra identifies a shared preoccupation with the metaphysical, the unknown and the nature of creative work. —

It merges HR Giger’s penchant for the grotesque, particularly in relation to Lovecraft’s cosmic horror, with René Magritte’s illusions of reality, reflecting Pessoa’s surrealistic tendencies, with dread and insanity as the central motifs of their imagined correspondence.” – Martin Kudláč / Cineuropa" Quotation montage by Night Visions 2024

AA: Edgar Pêra's Telepathic Letters is a computer animation, an experimental film, and a dream vision about a metaphysical connection between two unique authors, Fernando Pessoa and H. P. Lovecraft.

It is a bifurcating stream of two streams of consciousness, and more than two: about the split imaginary identities of the two poets, visualized in multiple split screens divided into nine or even 25 different screens.

It is a Surrealist films of haunting associations and hall-of-mirror revelations. Is there an underlying theme is the abundant flow of images. The fear of the unknown. The decomposition of reality. Man's relation to the cosmos.

The visual talent is undeniable. The giant eyes in the sky. The seemingly endless galleries of monster faces and characters are original and unusual.

The aesthetics is based on a homemade quality of imagery, the hazy video look and the low definition are part of the vision. The computer-generated stream of visual consciousness undermines our certainty of what exactly we are seeing is part of the enigma.

Because I had double-booked screenings I left the screening after one hour.

Vihan hedelmät / Grapes of Wrath (Malakias 2024) (world premiere at Night Visions in the presence of Malakias)

Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 1, Helsinki, 14 Nov 2024

A short film by Malakias was shown before Telepathic Letters.

Malakias is one of the most original talents in Finnish animation.

Grapes of Wrath belongs to the legacy of Archimboldo, Svankmajer and the Quay Brothers.

It is a film-in-a-film about sex and war between fruit and vegetables. In its animated way it is an explicit hardcore and splatter movie. Getting physical and visceral is the point. "Lihaa säästämättä". 

During the end credits there is a montage of ladies enjoying fruit and berries, mostly from French art movies.

There is a strong Expressionistic approach in the visages of the movie audience, vicariously enjoying the gory & sexy goings-on.

Bad Faith

 
Christopher Jacob Jones, Stephen Ujlaki: Bad Faith (US 2024).

Bad Faith: Christian Nationalism’s Unholy War on Democracy
Country and year: USA 2024
Rating: 12
Duration: 89 min
Director: Christopher Jacob Jones, Stephen Ujlaki
Writer: Alex Baer, Chris Jones, Stephen Ujlaki
Producer(s): Stephen Ujlaki
Cinematographer: Pilar Timpane, Bill Yates
Music: Jeremy Grody, Lili Haydn
Language: English
Subtitles: English
Narrator: Peter Coyote.
Featuring: Elizabeth Neumann, Randall Balmer, Ken Peters, Eboo Patel, Katherine Stewart, Samuel Perry, Russell Moore
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at Night Visions, Kinopalatsi 9, Helsinki, 14 Nov 2024
 
Night Visions 2024: "Bad Faith on kylmäävä dokumentti, jonka absurdien faktojen ilotulitus vetää hiljaiseksi. Myös Hollywood-fiktiota tuottaneen Stephen Uljakin (mm. Ripley Under Ground) ja Christopher Jacob Jonesin ensimmäinen yhteinen pitkä ohjaus seuraa Yhdysvaltojen uskonnollisen oikeiston pelikirjan rakentamista 1970-luvulta nykyhetkeen. Nopeaksi leikattu, valtavaan tietomäärään ja haastattelumateriaaliin nojaava elokuva piirtää amerikkalaisesta yhteiskunnasta kuvan, joka tuomittaisiin fiktiossa epäuskottavaksi."

"Reittikarttana toimii Paul Weyrichin (1942−2008) ura ja miehen vuonna 1983 kirjoittama manifesti. Republikaanien konservatiivilaidan pääideologi siirsi puoluettaan oikealle ja solmi strategisen liiton ääriliikkeiden kanssa. Strategiapaperissa ei ole kyse uskonnosta vaan vallan keskittämisestä pienen valkoisen miesjoukon käsiin."

"Äärioikeistoa ajoi yhteen lakimuutos, joka vei verovähennysoikeuden rotuerottelua harjoittaneilta kirkoilta ja yliopistoilta. Koska rasismin avoin puolustaminen arvioitiin huonoksi strategiaksi, konservatiivipoliitikot ja saarnaajat nostivat yhteiseksi kärkiteemakseen vuonna 1972 laillistetun abortin vastustamisen."

"Bad Faith päättää analyysinsä Projekti 2025 -nimellä tunnettuun manifestiin. Se ehdottaa muun muassa FBI:n ja oikeusministeriön siirtämistä presidentin komentoon, presidentille epälojaalien ihmisten puhdistamista hallinnosta ja oikeutta käyttää armeijaa kapinoivia kansalaisia vastaan. Sisältö seuraa tarkasti Weyrichin vuoden 1983 julistusta."

“Stunning”
– Robin Abcarian / Los Angeles Times

“A terrifying wake-up call”
– Dennis Harvey / 48 Hills

“Superb and unsettling”
– Hamilton Fish / The Washington Spectator

“A jarring must-see documentary”
– Jeanine T. Abraham / Medium

“if Bad Faith has one point, it is to take Christian nationalism as a serious threat to democracy”
– Adrian Horton / The Guardian

“It’s scarier than any horror film. It’s scarier than any other contemporary political documentary. And it’s scary because it’s all happening, which is why you need to see it. Stephen Ujlaki and Chris Jones’s epochal exposé is about how the forces of Christian nationalism have become far more powerful than most people realize in their crusade to transform America into a theocracy. —

This is exactly the kind of totalitarian political/cultural movement that the American system was built by the Founders to repel.”
– Owen Gleiberman / Variety - quotation montage Night Visions 2024

AA: One of the most formidable movies of the year is Petra Costa's Apocalypse in the Tropics (2024) covering televangelicalism and the cult of Jair Bolsonaro in Brazil.

Bad Faith by Christopher Jacob Jones and Stephen Ujlaki is its US counterpart - about the Christian nationalism of Paul Weyrich and its reincarnation in the Project 2025. It is an authoritarian, anti-democratic project disguising under religious camouflage.

Just like Putin in Russia, Orban in Hungary and Erdogan in Turkey, religion is abused as a legitimization of autocracy and discrimination.

Inspired by two books - Anne Nelson's Shadow Network and Randall Balmer's Bad Faith, the film by Jones & Ujlaki is impressively visual, a power montage of the trajectory of evangelicalism from the 1960s to 2024. I learn a lot of new essential insights that are never mentioned in Finnish media. 

Truth is stranger fiction. And the greatest horror is the one that is real.

Wednesday, November 13, 2024

Heretic (Night Visions Opening Gala)

 
Scott Beck: Bryan Woods: Heretic (US/CA 2024). Chloe East (Sister Paxton) and Sophie Thatcher (Sister Barnes) facing the house of Mr. Reed.

Night Visions Opening Gala
Heretic - epäuskoinen
Country and year: USA / Canada 2024
Rating: 16
Duration: 100 min
Director and writer: Scott Beck, Bryan Woods
Producer(s): Scott Beck, Julia Glausi, Stacey Sher, Jeanette Volturno, Bryan Woods
Cinematographer: Chung-hoon Chung
Music: Chris Bacon
Cast: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, Elle Young
Language: English
Subtitles: Finnish, Swedish
Format: DCP
Night Visions Maximum Halloween 3024.
Viewed at the Night Visions Opening Gala, Kinopalatsi 1, Helsinki, 13 Nov 2024
 
Night Visions (2024): "Night Visions -avajaiselokuviksi valikoituvilla tapauksilla on taipumus kohota puheenaiheiksi. Niin käy takuulla myös tämänkertaiselle kaappaukselle. Kevään 2024 festivaalin avajaiselokuvan Love Lies Bleedingin tavoin taustalla vaikuttaa A24-yhtiö, Hollywood-studioiden pakan sotkenut, särmään ja laatuun fokusoiva hämmentäjä."

"Heretic – Epäuskoinen on terävästi kirjoitettu psykologinen kauhutrilleri, joka nostaa pääteemakseen uskonnon. Juonen elimelliseksi osiksi kohoavat fanaattisuus ja siihen liittyvät kulttiutumisen vaarat. Pienen erityisryhmän sijaan tulilinjalle tosin asemoidaan nyt kaikki maailman uskonnot."

"Hugh Grant tekee elämänsä roolin karismaattisena setämiehenä, joka on saanut hihhuleiden tekopyhyydestä tarpeekseen. Tämä valkenee hiljalleen myös kahdelle nuorelle mormoninaiselle, sisar Paxtonille (Chloe East, The Fabelmans) ja sisar Barnesille (Yellowjackets-sarjan Sophie Thatcher), jotka päätyvät käännytyskierroksellaan herrasmiehen olohuoneeseen."

"Tästä käynnistyy klaustrofobinen, henkisen manipulaation mestaruussarjaan kohoava kissa ja hiiri -leikki. Kierros kierrokselta erikoisemmiksi kasvavista käänteistä löytyy lopulta yhtäläisyyksiä myös toissavuoden striimaushitti Barbarianiin."

"Grant suoriutuu sadistisen hirviön mittoihin kasvavan hahmonsa nuorallatanssista mestarin ottein. Jännite kasvaa kasvamistaan, vaikka miehen jäätävän vakuuttavasti naiskaksikolle latelemat totuudet ovat sisältönsä vakavuudesta huolimatta välillä hillittömän hirtehisiä."

"Ensimmäisen A Quiet Place -elokuvan käsikirjoittajina kunnostautuneiden Scott Beckin ja Bryan Woodsin voimannäyte on paitsi intensiivinen ja ajatuksia herättävä, myös ilahduttavalla tavalla aikuinen elokuva."

Thorny, impossible-to-anticipate thriller”
– Peter Debruge / Variety

“Crafted with expert care”
– Tim Grierson / Screen International

“A Gothic horror show that probes the mysteries of faith and the capacity of evil”
– Maureen Lee Lenker / Entertainment Weekly

“Midnight movie that thrives on the strength of a terrific cast and some equally brilliant craftwork”
– David Ehrlich / IndieWire

“An intense and fun dark ride”
– Josh Korngut / Dread Central

“In the enthusiastically R-rated horror-thriller Heretic, [Hugh] Grant is very much holding the weapon, although it’s unclear from the outset just what that weapon is and how he’s going to use it. What we do know is that the two Mormon missionaries, who make the mistake of knocking on his door, are in trouble, Sister Barnes (Yellowjackets’ Sophie Thatcher) and Sister Paxton (The Fabelmans’ Chloe East) hoping to convert him on a rainy afternoon. — Heretic might not be good clean fun but Grant makes it worth us getting dirty.”
– Benjamin Lee / The Guardian - The Night Visions 2024 quotation montage

AA: Directed by Scott Beck and Bryan Woods, Heretic is a powerful and original horror movie. After the 1980s, horror film was stuck into a routine of sequels and remakes for decades, but in the 2010s, there was a jolt of revitalization. In their superb entry into contemporary horror, Beck and Woods excel in visuals and ideas, and most of all in brilliant performances.

Visually, there is an engaging sense of landscape and milieu, and the classic concept of the house of horror has been memorably reimagined. Effortlessly, a sense of the uncanny is evoked and developed. Beck & Woods also display considerable cinematic wit both in design and the odd detail.

The casting coup of the movie is Hugh Grant as Mr. Reed. Grant channels his charm familiar from his romantic comedies into a sinister purpose.

In a film dealing with religion, Beck & Woods avoid cliché and easy satire. The two missionaries of the Church of Jesus Christ of Latter-day Saints, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are portrayed with dignity. During their last call, they meet a master theologist. He knows everything and understands nothing. This is the ultimate horror.

Saturday, November 09, 2024

Songs of Slow Burning Earth


Olha Zhurba: Songs of Slow Burning Earth (UA/DK/SE/FR 2024).

Language: Ukrainian
Screened with English subtitles at Ukrainian Film Days, Helsinki, Orion, 9 Nov 2024.
Vimeo screener viewed at home 9 Nov 2024.

AA: Olha Zhurba's Songs of Slow Burning Earth is a quietly devastating poetic documentary anthology about the Russo-Ukrainian war that started in 2014 following Ukraine's Revolution with Russia's clandestine attack on Crimea and Donbas and escalated into Russia's full-scale invasion in February 2022.

Ukrainian war films such as 20 Days in Mariupol, We Will Not Fade Away and Invisible Battalion have pursued their testimonies with vigorous energy and all-encompassing dignity more than compensating their low-definition visual qualities.

Distinctions of Songs of Slow Burning Earth include a high visual quality and an exquisite sense of composition. It is a lyrical masterpiece that registers the acute horror of a devastation that all but transcends the limits of normal experience and understanding. But the greatest distinction of Olha Zhurba's work is that it is an act of such transcendence.

It is divided into chapters that might work as independent short films but grow into an organic whole. I am reminded of Roberto Rossellini's Paisà, perhaps the greatest war film ever made, competing for a Finnish viewer with the first film adaptation of The Unknown Soldier.

The chapters include (the titles are mine): - the un-world of war - evacuees at a Kyiv railway station and on the road - the brutality of the war in testimonies of the evacuees and at the emergency call center - food aid at the bread factory at Mykolaiv - children's drawing lesson at an elementary school - the winter journey of a funeral procession: a long ride along a country highway of a truck carrying the coffin of a war hero, people by the roadside joining in holy commemoration, the camera mostly registering everything in a forward tracking shot through the windshield - the landscape after the battle: cleaning it from junk and wreckage - children playing war games - the coroner's office: the arduous task of the identification of corpses - rehabilitation center ("the superhuman center"): war invalids with leg prostheses, exercises in wheelchairs, learning to walk again - the Motherland Monument in Kyiv: removing the hammer and sickle marker - a high school in Ukraine: how do you see the future? - military drill at a Russian school to the tune of "The Persistent Soldier" - sunset on a foggy night.

Common to all Ukrainian war films I have seen is a talent in catching the immediate experience and a negative aesthetics: portraying the anti-life, the anti-beautiful.

Yet like all Ukrainian war films I have seen this is also a work of hope and dignity. Also a manifestation of determination and resilience.

...
VIMEO: SONGS OF SLOW BURNING EARTH

Docudays UA
An audiovisual diary of Ukraine’s immersion into the abyss of the first two years of Russia's full invasion, made up of places, occasional characters, rare dialogues, intraframe sounds and silences which, when put together, capture the chronology of how the war became normalised. Against the backdrop of this (meta)physical landscape of collective disaster, a new generation of Ukrainians aspires to imagine the future.

Director and writer Olha Zhurba
Cinematographers Volodymyr Usyk, Viacheslav Tsvetkov, Misha Lubarsky
Editor Michael Aaglund
Music Yaroslav Tatarchenko (bunht)
Sound Pavlo Melnyk
Producer Darya Bassel (Moon Man / Ukraine)
Co-producers Anne Köhncke (Final Cut for Real / Denmark), Kerstin Übelacker (We Have a Plan / Sweden)

Uploaded on 13. kesäk. 2024 at 23.02

UKRAINIAN FILM DAYS (HELSINKI 2024)
SONGS OF SLOW BURNING EARTH
Ukraina, Tanska, Ruotsi, Ranska, 2024
UKRAINIAN FILM DAYS
Alkuperäinen nimi:Songs of Slow Burning Earth
Ohjaaja:Olha Zhurba
Ikäraja:18
Maa:Ukraina, Tanska, Ruotsi, Ranska
Valmistumisvuosi:2024
Ensi-ilta:9.11.2024
Kesto:95 min
Tekstitys:english


Elokuvan maailman ensiesitys tapahtui tämän vuoden syyskuussa Venetsian kansainvälisellä elokuvafestivaalilla. “Songs of Slow Burning Earth” heijastaa havainnot sodan normalisoitumisesta. Venäjän hyökkäyksen ensimmäisten viikkojen paniikki- ja kauhusoinnut muuttuvat hitaasti kuoleman ja tuhon hyväksymisen tunnottomiksi hiljaisuuksiksi, joista tulee lopulta traaginen normaalisuus paikalliselle väestölle, mutta vain jälkiajattelu muulle maailmalle. Kollektiivisen katastrofin (meta)fyysisen maiseman taustalla ukrainalaisten uusi sukupolvi haluaa kuvitella tulevaisuutta.

Näytöstä seuraa 40 minuutin Q&A Olha Zhurban kanssa.

***

The world premiere of the film took place this September at the Venice International Film Festival. ”Songs of the Slowly Burning Earth” are reflections on the topic of the normalization of war. The ragged chords of panic and terror of the first weeks of the Russian invasion slowly transform into a numb silence of acceptance of death and destruction. In the end, it becomes a tragic norm for local population, and for the rest of the world – something secondary. Against the background of the (meta)physical landscape of a collective catastrophe, a new generation of Ukrainians seeks to imagine the future.

The screening will be followed by a 40-min Q&A with Olha Zhurba.

Friday, November 08, 2024

Nevydymyi batalyon / Invisible Battalion


Iryna Tsilyk, Svitlana Lischynska, and Alina Gorlova: Невидимий батальйон / Nevydymyi batalyon / Invisible Battalion (UA  2017).

Невидимий батальйон
Nevydymyi batalyon - istorii nashih zhinovi na vijni
Invisible Battalion - The Stories of Our Women at War
    UA © 2017 Institut Genderyh Program. PC: Tabor Productions.
    D: Iryna Tsilyk, Svitlana Lischynska, and Alina Gorlova. Cin: Oleksyi Kuchma, Denis Lushchik, Serhiy Morgunov, Vyacheslav Tsvetkov (as Slava Tsvetkov), Petro Tsymbal. M: Ptakh Jung, Mykhailo Nikolayev. S: Yasul Yavtushenko. ED: Max Milin. 
    Featuring: Olena Bilozerska, Yulia Matvienko, Yulia Paievska, Andriana Susak, Oksana Yakubova, Daria Zubenko
    89 min
    Language: Ukrainian
    Ukrainian premiere: 17 Nov 2017.
    Screened with English subtitles in Ukrainian Film Days, Helsinki, Orion, 8 Nov 2024
    Vimeo screener viewed at home 9 Nov 2024.

AA: A non-fiction survey of the first years (2014-2017) of the Russo-Ukrainian war following Ukraine's Revolution of Dignity. Without a declaration of war, Russia attacks Crimea and launches the Donbas War.

Directed by Iryna Tsilyk, Svitlana Lischynska, and Alina Gorlova, Invisible Battalion is the story of the indispensable contribution of women to the defense of Ukraine.

For a Finnish viewer, it is a parallel work to the opening film of the 2024 Ukrainian Film Days, Taru Mäkelä's Lotat / Women in War (FI 1995). Like in Finland in WWII, women in Ukraine contribute to the defense as cooks, seamstresses, cleaners, accountants and in reconnaissance. But in Ukraine, they also participate in actual combat, in defiance of the legislation.

Taru Mäkelä told the stories of five women veterans. In Invisible Battalian, there are six, Olena Bilozerska, Yulia Matvienko, Yulia Paievska, Andriana Susak, Oksana Yakubova and Daria Zubenko, whose stories we hear and see in first person narratives. Their tasks: paramedic, sniper, major. 

The heaviest burden falls on Oksana Yakubova, Major, responsible for sending soldiers to almost certain death. "Surviving after war is more difficult than war". She is suffering from an acute PTSD (post-traumatic stress syndrome), attempting in therapy to wash the shock images of war from her memory and fending off suicidal thoughts.

Andriana Susak got pregnant during the war and returned with her husband from the front on the fourth month of pregnancy. She tells about a fellow combatant who jumped from the 16th floor the year before because of PTSD. "Our entire nation has PTSD".

The film was produced by an advocacy organization for women's rights, promoting equality in the military, resisting a pervasive belittling of women.

The "you are there" atmosphere is compelling.

Iryna Tsilyk, Svitlana Lischynska, and Alina Gorlova: Невидимий батальйон / Nevydymyi batalyon / Invisible Battalion (UA  2017).

INVISIBLE BATTALIOIN: OFFICIAL PRESENTATION

I know a girl who dragged the injured away from the battlefield under fire in Ilovaisk when most men were hiding in a cellar. If a woman, mother, sister or daughter, wishes to protect our values and our territory, then nobody can prohibit that to her.”

Invisible Battalion consists of six stories of servicewomen told by three Ukrainian film directors: Iryna Tsilyk, Svitlana Lischynska, and Alina Gorlova. The film protagonists are different by their life experience, age, military, and civil professions, but all of them were united by this war, and their stories create a panoramic picture of the woman’s status in the Armed Forces. Maria Berlinska, the film producer, speaks about the project goal, “First, to document the history that’s happening here and now, to show how women fight. Second, to break down this wall for women. This cannot be about either gender or eye color, only education, only professionalism, and skill. Films are a good instrument that can be used to explain these things to society. And, finally, the third goal, which is very important for me. We are losing the informational war in the world. With this documentary, we want to show that it’s not a civil conflict that we have here, it’s Russian occupation, for the fourth year in a row. The world will see in our film how our women die and get injured, how they fight and win the battles with the Russian army. And we do not need their deep concerns, we need real support.”

The documentary was premiered on TV on October 16, 2017, on national Channel 1+1, and later premiered at Oskar Cinema on November 24, 2017. 

The documentary has already been screened around the world, in particular in Shanghai, Milan, Toronto, Ottawa, Montreal, New York, Washington, Chicago, Philadelphia, as well as at the Parliament of Canada and UN Security Council.

Invisible Battalion raises active discussion on the rights of women in the security and defense sector, stimulating governmental authorities to reform the legislation left over from the Soviet times. In particular, in June 2016, under the pressure of public opinion, the Ministry of Defense expanded the list of battle positions available for women by 63 positions. The heroines of Invisible Battalion have also become cultural ambassadors of Ukraine, and through their stories, they tell the international community about the great threat of the Russian aggression, and that Ukraine is currently protecting not just its own territories but also democratic values in general, this is why it is a reliable ally and partner.

Partners: Canada-Ukraine International Assistance Fund (Canada), Razom (USA)

...
INFO AT UKRAINIAN FILM DAYS, 8 NOV 2024
INVISIBLE BATTALION
Ukraine, 2017
Alkuperäinen nimi: Невидимий батальйон
Englanninkielinen nimi: INVISIBLE BATTALION
Ohjaaja: Alina Horlova, Svitlana Lishchynska, Iryna Tsylyk
Ikäraja: 18
Maa: Ukraine
Valmistumisvuosi: 2017
Kesto: 90 min
Kieli: ukraina
Tekstitys: englanti

ILMAINEN SISÄÄNPÄÄSY / FREE ADMISSION

Ensimmäinen dokumenttielokuva ukrainalaisten naissotilaiden panoksesta taistelussa venäjän aggressiota vastaan. Koostuu kuuden asepalveluksessa olevan naisen tarinasta. Päähenkilöt eroavat toisistaan niin elämänkokemuksensa, ikänsä, sotilas- ja siviiliammattinsa puolesta, mutta sota yhdistää heitä kaikkia. Heidän tarinoidensa kautta silmiemme eteen avautuu kuva naisen asemasta Ukrainan asevoimissa venäjän hyökkäyksen jälkeen vuonna 2014, jolloin naiset joutuivat muuttamaan vanhaa neuvostoliiton jälkeistä lainsäädäntöä.

Näytöstä seuraa 40 minuutin Q&A.

***
The first documentary film about the contribution of Ukrainian military women to the fight against Russian aggression. It consists of the stories of six women in military service. The main characters differ from each other in life experience, age, military and civilian professions, but they are all united by the war. Through their stories, a picture of the position of women in the Ukrainian Armed Forces opens before the eyes after the Russian invasion in 2014, when women had to change the old post-Soviet legislation.